IFPI : Digital Music Report 2012

Ifpi

Description

IFPI : Digital Music Report 2012

Sujets

• International Federation of the Phonographic Industry
• Digital
• Report
• Music
• 2012

Informations

• Publié par: Fil_Culture
• Publié le: 24 septembre 2013
• Nombre de lectures: 154
• Langue: English
• Poids de l'ouvrage: 12 Mo

Extrait

Digital Music Report 2012
Expanding Choice. Going Global Digital Music Report 2012
Contents

Introduction 3 Focus on France 20
n Plácido Domingo, chairman, IFPI n Hadopi: “Positive impact for years to come”
n Frances Moore, chief executive, IFPI n The independent’s view: Innovation and
“meaningful sanctions”
Artist voices 5
Focus on the US 21
Digital Music: Expanding Choice. n ISP agreement and strong digital growth
Going Global 6
Focus on South Korea 22n Executive Summary
n Global digital growth rate accelerates n A continuing success
n The global top selling digital singles of 2011
Developing a legitimate business in China 23n Access or ownership? You choose
n Global expansion n Major record companies license Baidu
n Progress against piracy
n Intermediaries have a key role Protecting content online: Intermediaries
step up 24
The business models of digital music 10
n Search engines should link to legal music
n Downloads break through borders n Advertising: Cutting the funds to piracy
n Digital album demand alive and kicking n Payment providers act on illegal sites
n The rise of subscription n Hosting providers: A key partner
n Subscription reaches new consumers
n Bundling music – a route to the mass market Self-Help: Anti-piracy enforcement
n Internet radio continued to expand and education 26
n Music video meets strong consumer demand n Tackling the pre-release hackers
n Public education: a long term commitment
The art of digital marketing 14
n A Guide to Music, Film, TV and the Internet
Piracy: Improved cooperation from Digital Music Services Worldwide 28
online intermediaries 16
n A rigged market
n Books feel the impact
n ISPs: The needle is moving
n Progress in Europe
n New study assesses the effect of graduated response
n US and New Zealand: ISPs engage
n Moves to block “rogue websites”
n Evidence of site-blocking impact
2A digital world that rewards
artists and creators
By Plácido Domingo, chairman, IFPI
I accepted the invitation to become chairman of IFPI in 2011 because
I wanted to help improve the very challenging economic environment
which musicians – young and old – everywhere face in their
careers today.
We all know the music industry is in a period of dramatic change.
Much of this is cause for optimism and opportunity, as the Report that
follows suggests. Thanks to the amazing technology of the internet, the
audience for recorded music is fast-expanding across the world. Artists
who might not otherwise f nd a way to make their music available can
take advantage of the new ways to distribute music the internet offers.
At the same time policymakers better understand that the internet does
not make music “free”. There is greater acceptance of the need for
good and fair copyright laws to stop the infringement of artists’ and
producers’ rights. A widening circle of vital partners in the internet
world are cooperating in stopping piracy.
As a passionate supporter of the music industry, I welcome these
changes. However, it is fundamental that artists and creators, and
the producers that invest in them, should be rewarded for their work
in the digital environment just as in the physical world. Governments
and legislation have an essential role to play. I only have to look at my
native Spain – where piracy has had a terrible effect on everyone’s
royalties and the labels’ investment in artists – to see the extent of the
Plácido Domingo was appointed chairman of IFPI, the organisation that challenges we face.
represents the recording industry worldwide, in July 2011.
A world where copyright is properly respected brings income to artists
Domingo is a world-renowned, multi-faceted artist. Recognised as one and producers and investment in artists of all genres. It also delivers
of the f nest and most inf uential singing actors in the history of opera, jobs, growth and tax revenues. And, of course, it also brings an
he is also a conductor and a major force as an opera administrator in enormous amount of pleasure to billions of people. As its chairman,
his role as general director of the LA Opera. I am trying to help IFPI in its efforts to create an environment in which
the public can enjoy the benef ts from a successful digital music sector.
Plácido Domingo
3
Plácido Domingo. Photo by John MarshallDigital Music Report 2012
Digital Music in 2012:
Optimism Justifi ed. Complacency not Accepted
By Frances Moore, chief executive, IFPI
Looking through the pages of this latest South Korea, a pioneer of anti-piracy legislation which has required an
IFPI Digital Music Report, you see a effective role from ISPs in stopping infringement, is seeing continued
striking paradox: on one hand, there is the market health. New Zealand implemented a new graduated response
innovation and drive of a business that law in 2011 and surveys show it is already affecting consumer
has led the way for creative industries behaviour positively. In Europe, a series of successful court actions
in adapting to the digital age; on the required ISPs to block access to The Pirate Bay, prompting substantial
other hand, the extraordinarily diff cult reductions in users of that service.
environment in which these changes
On top of this, there is a “new frontier” in our work against piracy. are taking place.
Cooperation from a far wider circle of technology and business
This is the ninth report that we at IFPI have produced documenting partners, from advertisers to search engines, is now needed to deal
the evolution of the digital music sector worldwide. It has been with the problem. In 2011, we made signif cant progress with these
a challenging and often painful transition, but as we enter 2012, intermediaries. A ground-breaking three-way collaboration between
there are reasons for real optimism. The digital music business has payment providers, IFPI and the City of London Police has helped cut
now reached out to encompass the globe. The largest international funding to 62 illegal websites. That is a positive model that can be
legitimate digital music services are present today in no fewer than extended to new forms of piracy in the future.
58 countries – this number has more than doubled in the last
The role of search engines in relation to piracy will be a key priority in twelve months.
2012. Google and other search engines are an important access route
Consumer choice has been revolutionised, as new models for for those looking for unlicensed music on the internet. Our industry
consuming and accessing music are rolled out in new and existing has stepped up cooperation with search engines in the last year,
markets. The number of paying subscribers to services such as but a lot more cooperation is needed, such as prioritising legitimate
Spotify and Deezer has leapt in the last twelve months, from an sites in search results and helping prevent the funding of illegal sites
estimated eight to more than 13 million. At the same time, cloud- via advertising.
based services, such as iTunes Match, have become a reality in the
marketplace, helping drive the popularity of music downloading.
The music industry has grasped the
With a healthy 8 per cent increase in our digital revenues in 2011 – opportunities of the digital world in a the f rst time the annual growth rate has risen since records began
in 2004 – some might feel tempted to say that a troubled era for the way few, if any, other businesses can
music industry is coming to an end. Such complacency now, however, claim to have done.
would be a great mistake.
The truth is that record companies are building a successful digital
music business in spite of the environment in which they operate, Despite the challenges ahead, the optimism for digital music
not because of it. Figures in this report show that more than one in going into 2012 is well-justif ed. The music industry has grasped
four internet users globally regularly access unlicensed sites that the opportunities of the digital world in a way few, if any, other
contain copyrighted music. This is a startling statistic that captures businesses can claim to have done. Our digital revenues, at one-
the challenges we face in developing a sustainable legitimate digital third of industry income (and now more than 50 per cent in the US),
music sector. substantially surpass those of other creative industries, such as f lms,
books and newspapers.
We are undoubtedly making important progress in changing this
environment, dealing with both peer-to-peer (P2P) and other forms The music business is a dynamic contributor to the digital economy.
of digital piracy. In the US, music and f lm companies have agreed Yet it can be much more than that, delivering sustainable growth
with ISPs a new copyright alert system. In France, the Hadopi law has and jobs. This cannot be done through innovation and licensing
been successfully implemented and research shows it is accepted and alone. We need a fair legal environment, effective cooperation from
having an impact on consumer behaviour. intermediaries and a resolute commitment from governments to use
legislation to curb all forms of piracy. These are the priorities we will
be pushing for in 2012.
4
Frances Moore. Photo by Philippe Molito